So we’re coming near the end of this repeat of my Talkartoons reviews. I’ll need to start actually working again soon. I have no regrets about putting this much of my blog in repeat mode. I haven’t had much time or energy for fun stuff since mid-August and I can at least keep my inexplicably long publication streak going with repeats like this. Plus I don’t know how to bring a guest author on anyway.
Hide and Seek is a cartoon I discuss mostly for its strange anachronistic nature. It looks and feels like a much more primitive cartoon than its recorded release date seems to justify. I haven’t got any new insights about its production. But then I also forgot the cartoon entirely after the original publication, so, it would take a stroke of luck to get anything.
In my recap I warn about the Chinese stereotype character that shows up in the cartoon. This feels to me today like a too-weak warning. If you don’t need Bimbo and a proto-Betty-Boop talking fake Chinese by saying stuff like “Chop suey” at a guy marrying them, skip this short. There’s some fun weird loosely-plotted cartooning in here but not a thing you have to experience.
This Talkartoon comes to me as a mystery. I realized while writing this that I couldn’t find it on the archive.org list of Betty Boop cartoons. This is because it has no Betty Boop in it. It’s also not listed under Talkartoons, but the archive.org roster of “subject: talkartoons” doesn’t have any of the 1932 shorts. I could only find one copy of it online, on YouTube; I just hope that it doesn’t go missing before you read these words. Wikipedia says this short was released the 26th of May, 1932. Leonard Maltin’s Of Mice And Magic agrees. I will provisionally accept that as true. But I’d like someone who has primary documentation to confirm because this is a weird one.
Also a mild content warning. The cartoon ends up in China. Not for long. Just long enough for a Chinese man to perform a quick wedding.
So. Yeah. This was allegedly released just about a month after A Hunting We Will Go. The 26th of May, 1932. Is anyone else not buying that? Because this cartoon would make so much more sense if it were released in 1930 instead. Let’s consider:
- What the heck is with Bimbo? He looks like he did in 1930 and early 1931, before his character had really stabilized and he’d settled on the basic-black look.
- Where’s Betty Boop? The romantic lead here looks strikingly like a prototype Betty Boop. But at this point why have a Proto-Betty Boop? These aren’t the days of Barnacle Bill or The Bum Bandit. Why not have Betty Boop appear and tie the cartoon to the studio’s clearest star?
- It’s directed like a silent cartoon. Some of this is the backgrounds. They’ve got this limited use of grey that looks much more like what the studio did just after the transition from paper to full cel animation than what it was doing, say, in last week’s cartoon. Some of this is in framing shots. There’s a lot of use of setting the action inside a circle, against a black backdrop. We saw this all the time in 1930. These days? Not so much.
- The sound is just awful. Granted some of this is the quality of the print that whoever uploaded this to YouTube uses. But I think it’s something in the source material. There’s no good dialogue even by the standards of a Fleischer cartoon. There’s not many good sound cues. There’s a title card song that seems to have nothing to do with the short. There’s just nothing.
- There’s just one credited animator, Roland Crandall. This is the first and only Talkartoon that Crandall’s got a credit for. But he did a lot of work for the Betty Boop version of Snow White, and he’d be the animation director for the Fleischer’s Gulliver’s Travels.
So what if this cartoon has been mis-dated, and it was actually released in late May 1930? That would reduce an otherwise strikingly long gap between Fire Bugs (the 5th of May) and Wise Flies (the 14th of July, 1930). The character designs would make more sense. So would the direction. Also the big part the motorcycle has in coming to life. That has the feel to me of a spot joke that kept growing as it turned out the motorcycle was interesting. The style of the backgrounds makes more sense too, as does the use of a not-Betty-Boop for a Bimbo cartoon.
There is the copyright date on the title card. The Proto-Betty-Boop is a weird figure, but any weirder than in The Robot — also a 1932 release? And also one with the white-model Bimbo? And the circles of action on a black background?
Apart from one Koko the Clown short, all the Internet Movie Database’s work for Crandall is dated from 1932 through his retirement (from animation) in 1941. And if a 5-May-to-14-July gap in 1930 is implausibly long, then how do I answer the 29-April-to-10-June gap that relocating Hide and Seek to that year would create?
All right, perhaps. It’s still weird. I wonder if Hide and Seek weren’t finished much earlier but not released until some scheduling issue demanded it. Also whether The Robot might have had a similar fate.
So I turn this over to people who know how to access primary documentation: the heck’s the deal here? Huh? You know?
There’s little information about this cartoon online. So I’m going to run out my column here with what happens. This is for the benefit of people trying to figure out what the heck happened after this mysterious cartoon vanishes from YouTube and the whole Internet.
The plot: A kidnapper grabs Proto-Betty Boop. Bimbo and his motorcycle give chase, pursuing him into a mountain and down into Hell. They’re captured by a demon. The motorcycle rescues Bimbo and Proto-Betty, and they make it to a happy ending.
And here’s a more detailed list of incidents, as opposed to just the plot. The title card opens with a tune about you being a detective called in to solve a hold-up and ultimately hypothesizing you’d have to say your prayers. The short opens in a bank where Proto-Betty Boop withdraws a bag of money. A lurking crook whom I thought was Bimbo at first cackles and follows. Bimbo, a cop working one of those traffic island signals you see in 1920s and 1930s shorts, notices the crook. The traffic signal picks up the crook’s card (“I. Grabber, Kidnaper [sic], office 66 Snake St”).
Proto-Betty strolls out of the bank, past I Grabber’s storefront (it even lists him as proprietor). She walks past his open trap door. Grabber pulls a rope out of the trap door and walks behind Betty. This ultimately pulls a goat up behind them. He grabs Proto-Betty and ties her atop the goat.
Bimbo spots this, and takes out three giant links of sausage, which he fashions into a motorcycle. He pursues Grabber up an impossibly steep mountain. Bimbo’s motorcycle can’t manage the incline until it sneaks back into town for a drink from the “Tea Shoppe” speakeasy. Thus fortified it’s able to drive uphill and, at that, through a boulder.
The two chase through an Old Man Of The Mountain rock face and to the smouldering volcanic crater up top. There they race around the cone in the center of the volcano, until the ground level drops down as an elevator. They arrive in Hell’s Kitchen. Grabber and the goat are taken by a giant demonic hand and put into an iron stove. Bimbo and Proto-Betty are grabbed by a demonic hand and taunted by a devil who looks more like a hippopotamus than anything else. The hippo-devil puts them in an icebox.
Meanwhile Bimbo’s motorcycle, undetected, searches for everybody. He finds the stove, and Grabber and the goat baked into pies, where he leaves them. (Their intact heads poke out of these pies; leaving them like that is shocking.) The motorcycle breaks through the icebox and carries Bimbo and Proto-Betty onto a miniature golf course, a reminder that 1930 was when miniature golf was first, er, big. This hole — number 19 — has a dragon or alligator putting a tethered ball through a wooden half-pipe ramp and looks pretty fun, truth be told.
Bimbo, Proto-Betty, and the motorcycle fall through the 19th Hole, down the tunnel to China, 4000 miles below. They land in a Buddha(?) statue’s hands. From it emerges a minister, who marries Bimbo and Proto-Betty Man.